I don't feel like writing any more wretched biographies. They breed nothing but trouble. Firstly, you have to think the thing up. Secondly, you have to jot it down. Thirdly, you have to make sure its copyright is protected, because it might happen that some sort of semi-literate penpusher will reprint it in his paper. Then one would have to file a suit for violation of copyright and/or take part, unwillingly, in a polemic in the paper's more or less popular columns, prove lies and distortions of fact, and be sympathetically malicious. O, the wagtail came and praised its own tail - something distasteful in the habits of this otherwise likeable bird.
Well then, biographies are a sea of trouble with nary a pleasure in sight. One may say that there are as many good fish in the sea as ever came out of it, but biographies are not as tasty as a nice sole Meuni·re, but rather resemble basking sharks in their unpredictable viciousness. It would be unprecedented for a shark to write so much as his name, let alone a decent biography - even if he were tempted to do so, which is unlikely, knowing sharks as I do. Hence the relatively peaceful unproductivity of your average shark. Oh, I just heard a calf moo! I wonder if cows have their own newspapers? It's very probable they do, considering their highly intelligent facial expressions.
As I said, there is little profit to be made from the writing of biographies, no pecuniary compensation is even considered - a dog's life, one might say. Oh, a dog has barked! Fortunately, dogs, man's perennial friends, don't have newspapers either - if they did, the friendly puppy would probably turn out to be a wolf in sheep's clothing, a wolf with a difference. Without newspapers dogs produce nothing but a noisy background for the creative work of the authors of biographies.
How boring it is to live in the country!
Stanisław Krupowicz

Selected works (since 1980): Symphony (1980), Tempo 72 for amplified harpsichord and strings (1981), String Quartet No. 2 (1982), Easter Disloyalty of cd for any set of instruments (1982), A Certain Case of a Certain Generalised Canon at the Fourth and Fifth for nine performers (1983), Unquestioned Answer, variation on a theme by Ives for chamber orchestra (1984), Music for S for tape (1984), Thus Spoke Bosch for tape (1985), Half a Dozen Chaste Stanzas for piano (1985), Half Way Through for tape (1986), Farewell Variations on a Theme by Mozart for amplified string quartet and tape (1986), Concerto for Tenor Saxophone and Computers (1987), Nightfall for tape (1987; composed with Toni Milosz and Ira Mowitz), Only Beatrice for female reciting voice, amplified string quartet and tape (1988), Alcoforado for tape (1989), Smoking Room Blues for midi ensemble (1991), A Lighter Shade of Grey for violin and tape (1992), Fin de siŹcle for orchestra (1993), Certain Cases of the Generalized Mixed Cadence for synthesizers (1995), Polonaise 1995 for orchestra (1995), Miserere for soprano and two a cappella choirs (1996), Christmas Oratorio for soloists, choir and orchestra (1997), Gratanter iubilemus for two a cappella choirs (1998), 444 for string quartet (1998), Centum annos for alto, improvising conductor and a cappella choir (2000), Paragon Paradigm for sinfonietta (2000), Fanfares for ACh for chamber orchestra (2000), Partita for Cello and Computer (2002), From the Book of Prophesies of William Blake: Europe, opera in one act (2002, in preparation).

Partita. Variations or rather the variety of its possible forms, can drive one really crazy. For a long time I have been trying to compose a piece which would not be a form of variations - all in vain, for unknown reasons. It is difficult to pinpoint the form of partita. It seems that the term partita is the most accurate, though old-French rondeau with variation-like treatment of the refrain could be adequate as well.
Partita was composed in response to Andrzej Bauer's idea, inspiration and a sort of persuasive persistency. It is to him that I dedicated the piece, with great pleasure.
Stanisław Krupowicz